Tag: Portland OR

Portland, OR-based producer, electronic music artist and multi-instrumentalist Ben Braun can trace some of the origins of his own musical career to growing up in a musical home, as his own father played drums in Hall and Oates‘ backing band. Interestingly enough, the youngest Braun is best known as one-half of synth pop act Mackintosh Braun, an act that received attention for an 80s synth pop and New Wave-inspired sound. And while Braun’s solo recording project B•R•A•U•N will further cement his reputation for crafting 80s inspired synth pop, the project and its forthcoming full-length debut Silent Science began from Braun’s awareness of the personal freedoms that he felt he had sacrificed to live in he comforts of new technology, and as a result, the material possesses a longing for a much simpler life — but while paradoxically revealing his unique production style featuring lush and propulsive synths and chopped up vocal samples.

Silent Science’s second and latest single “Prague” while nodding at Tears for Fears‘ “Head Over Heels” and much more contemporary fare like Rush Midnight and others, features Braun’s production style of layers of propulsive and shimmering synths, boom bap beats,  rousing hooks, and an angular bass line paired with Braun’s breathy vocals but underneath the slickly produced and lush surface is a deeply reflective yearning that gives the material a subtly cinematic vibe.

 

 

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New Audio: Portland’s R.I.P. Returns with a Primal and Urgent Single

If you were frequenting this site over the course of last year, you have come across a couple of posts featuring the the Portland, OR-based doom metal quartet, R.I.P. And as you may recall, the Portland-based quartet has long operated off the belief that heavy metal crawled up out of the proverbial gutter, where it writhed to life in the grit and grime of the streets — and unsurprisingly,  the band dubbed their scuzzy and grimy approach to heavy metal and doom metal as “street doom.” But interestingly enough, the first two singles off their RidingEasy Records released debut In The Wind, “Black Leather” and “Tremble,” the Portland-based metal quartet’s sound seemed to be indebted to  Black Sabbath, Led Zeppelin, Hawkwind and Badmotorfinger, Superunknown and Down on the Upside-era Soundgarden. 

Street Reaper, R.I.P.’s sophomore effort is reportedly inspired by Rick Rubin’s legendary and influential 80s productions — think The Beastie Boys, Run DMC and LL Cool J among others — and Murder Dog Magazine, revealing a streamlined and punishingly, raw ferocity meant to evoke the days when metal and hip-hop were reviled by the mainstream the work of thugs intent on destroying the very fabric of America and its youth. Interestingly, unlike the preceding album, the band’s songwriting approach subtly expanded, based on their belief that doom metal shouldn’t be tried into a particular tuning or a time signature but on a particular mood — in this case, terror and dread.  Unsurprisingly, the material on Street Reaper is influenced by and evokes the sensibility of our extremely fucked up times instead of focusing on sci-fi or fantasy or mysticism, and as you’ll hear on Street Reaper’s latest single, “The Other Side,” the doomy vibes are rooted in an inescapable and fearful present, full of the possibility of the impending collapse of democracy here in the US, of economic failure, nuclear war, dwindling resources, and a downright primal fight for survival. 

Naturally, the song finds the band playing at their most blistering and impassioned — it may be a desperate howl into the void, but there’s an uncommon urgency that will set the Portland-based quartet apart from their contemporaries. 

Currently comprised of Evan Way, Brette Marie Way, Sam Fowles and Robbie Auspurger along with a rotating cast of collaborators and friends, the Portland, OR-based indie folk/psych rock/indie rock act The Parson Red Heads can trace their origins to when its founding core members met in Eugene OR in 2004, where they all were attending college and studying for degrees that as the band’s frontman Evan Way jokes in the band’s official bio “never used or even completed.” As Way recalls “we would rehearse in the living room of my house for hours and hours until my roommates would be driven crazy — writing songs and playing them over and over again, and generally having as much fun as a group of people can have. We weren’t sure if we were very good, but we were sure that there was a special bond growing between us, a chemistry that you didn’t find often.”
So in 2005, the founding members of the band relocated to Los Angeles, where they hoped that they would take music much more seriously and become a real band, eventually moving into a 1 bedroom apartment in West Los Angeles. “Eventually the population of our 1 bedroom ballooned to 7 — all folks who played in our band at that point, too,” Way explains. But while in Los Angeles, the members of The Parson Red Heads became stalwarts of a growing 60s-inspired folk and psych folk scene based primarily in the Silverlake and Echo Park sections. “We played every show we could lay our collective hands on, which turned out to be a lot of shows. We must have played 300+ shows in our first two years in L.A.  . . . . We practiced non-stop and wrote a ton of songs, and eventually recorded our debut album King Giraffe at a nice little studio in Sunland, with the help of our friends Zack and Jason.
After 3 more years of writing, recording and touring, which resulted in an EP and their sophomore full-length Yearling, which was partially recorded at Red Rockets Glare Studio with Raymond Richards, who had then joined the band to play pedal steel and in North Carolina at Fidelitorium with The dB’s Chris Stamey, the members of the band decided to quit their jobs and their apartments and go on a lengthy tour with their friends in Cotton Jones before relocating to Portland.  But whether they were in Los Angeles or Portland, the band had developed a reputation for an uninhibited live act, with a folk sound that can easily go into rock mode — and in some way, it shouldn’t be surprising that the band’s influences include The Byrds, Teenage Fanclub, Big Star, Crosby, Nash, Stills and Young, Jackson Browne and others. In fact, with the band’s third full-length album Orb Weaver, the band wanted to capture their live, rock-leaning sound on wax. “We’ve always made records that were more thought-out,” says Way. “When we play live, we play more like a rock band. We wanted to show that more aggressive side of us, the more rock-oriented side.”
The psych folk/indie folk/indie rock act’s fourth full-length effort Blurred Harmony derives its name from a Donald Justice poem, and is slated for release next week through Portland-based label Fluff and Gravy Records here in the States, the home of JOVM mainstay Drunken Prayer, acclaimed singer/songwriter Fernando and Richmond Fontaine. And as Way explains, the band intended to do things differently — with the band recording and tracking themselves, setting up drums and amps and furiously recording after everyone had put their kids to sleep and trying to finish before it got too late. He goes on to say that “the record is more a true part of us than any record we have made before — we put ourselves into it, made ourselves fully responsible for it. Even the themes of the songs are more personal than ever — it’s an album dealing with everything that has come before. It’s an album about nostalgia, about time, change, about the hilarious, wonderful, bittersweet, sometimes sad, always incredible experience of living. Sometimes it is about regret or the possibility of regret. These are big topics, and to us, it is a big album, yet somehow still intimate and honest.” And as you’ll hear on Blurred Harmonys latest, jangling and anthemic single “Coming Down,” the wisdom of someone, who’s lived a full, messy life and recognizing that experiencing everything life has to offer is part of the purpose and forms who you are and who you’ll be, but with a sense of awe, joy and gratitude. “I’m alive, I’m okay and those who I cherish and love are alive and okay, and that’s really all that maters,” the song seems to say. But thanks to its jaunty and infectiously upbeat feel, the song also evokes the experiences of being on the road, of seeing things you’d never seen before, of meeting people you’d never met before, of strange languages you can barely pronounce, of an aching loneliness — and it all further cementing yourself and your place in the scheme of things.

 

 

 

 

 

New Video: !!! Get Fierce In Video for New Single “Dancing Is The Best Revenge”

Deriving their name from the subtitles of the movie The Gods Must Be Crazy, in which the clicking sounds of the Bushmen’s Khoisan language were represented as “!,” and currently comprised of founding member and vocalist Nic Offer with Mario Andreoni, Dan Gorman, Paul Quattrone, !!! (pronounced chk-chk-chk) originally formed in Sacramento CA when members of three local bands, The Yah Mos, Black Licorice and Popesmashers, decided to collaborate together on a project that would mesh disco, funk and dance music with more aggressive post punk and punk. Relocating to NYC, the members of !!! quickly became part of a famous batch of dance punk acts, who got their start in the early 00s including The Rapture, LCD Soundsystem and a lengthy list of others; but unlike their renowned peers and counterparts, they’ve managed to remain operating as a cohesive unit — although the band’s members now reside in NYC, Sacramento and Portland, OR.

Shake The Shudder, !!!’s sixth full-length effort is slated for a May 19, 2017 release through Warp Records and the album continues their collaboration with long-time producer Patrick Ford at the band’s Brooklyn-based home studio. Renowned electronic music producers Phil Moffa, Joakim and Matt Wiggins were recruited to mix the album and adding to the overall communal feel, the album features a rotating cast of guest vocalists including Lea Lea, Meah Pace, Nicole Fayu, Cameron Mesirow and Molly Schnick. Already, the album’s first single “The One 2,” which has seen airplay on BBC Radio 6, KCRK and KEXP has seen 400,000 streams, and building upon the buzz that the first single received, the act has released the album’s second and latest single “Dancing Is The Best Revenge” is a self-assured and sultry strutting song that nods at classic disco, funk, classic house and contemporary electro pop-like production while possessing one of the funkiest bass lines I’ve heard this year.

Directed by Will Galperin, the recently released video for “Dancing Is The Best Revenge” feature’s !!!’s Nic Offer with a collective of some fierce, take no prisoner drag queens — Kamryn Moore-Fierce, Nikki Moore, Makena Moore and Phoebe Monroe De La Strawberry strutting and dancing their asses off to the song. But perhaps more important, the video captures the performers camaraderie, pride and decency as they transform themselves to perform. And from the video, these ladies are a crazy, dysfunctional family — but a family in which every member accepts and loves their quirks and foibles, and offers the sort of love and understanding that they wouldn’t have received from their own biological families.

Interestingly, as Nic Offer explains in press notes, “When we recorded ‘Dancing Is The Best Revenge’ I pitched up voice, becoming Nicole Fayu in the studio — much like Prince became Camille and Morrisseey became Ann Coates. The groove felt like a strut or a walk and I imagined it akin to drag or ballroom culture.

“After ‘The One 2’ video featured such strong dance performances and was filmed in the historic L.A. venue Jalisco, we decided to give the song to some girls, who could really walk the walk and perform the song as in the spirit of reinvention. We traded some outfits and makeup tips, and they helped me become IRL Nicole Fayu. Dancing with them was a blast, and it was a great to finally see the song walked. I’m not used to being out-performed in a video.”

“These ladies ignore a world that tells them who they should be — they take the stage, walking as whoever they want to be, and that’s their best revenge. Maybe you’ll never walk onstage, maybe you’ll never be anyone else, but maybe this song/vid/story inspires you to try something you haven’t before.” Along with that though, is a very powerful message that being your truest self and not caring what anyone else thinks is arguably one of the simplest yet most revolutionary acts. And in a political climate in which their community is being attacked, the love these ladies show for one another, their pride and their zero fucks attitude towards life should truly be inspiring.

Live Concert Review: Xylouris White with Marissa Anderson at National Sawdust

November 11, 2016

 

Those who know me the best know that I lead an insanely full life. I commute back and forth between my apartment in Queens and my full-time day job as an Acquisitions Editor at a downtown Manhattan-based book publisher, run this site on the side as a mostly full-time effort, participate in a radio segment that airs Fridays on Norway’s P4 Radio and on occasion I even have time for a social life. And if I had a 40-hour day, I’d probably squeeze in even more that I’d need to do or would like to do! As you can imagine, with all of those various and competing obligations it can be difficult to spend some time to actually sit down and write in a way that I’d like; but as a wise man once rhymed “the hustle don’t sleep.”

Last month, I was at one of Williamsburg’s newest and most intimate venues, National Sawdust to catch the highly-acclaimed duo Xylouris White along with the incredibly talented Northern California-born, Portland, OR-based guitarist Marisa Anderson. Now, if you’ve been frequenting this site over the past month or two, you may recall that Xylouris White is comprised of Comprised of Melbourne, Australia-born, New York-based drummer Jim White, who’s best known as a member of the internationally acclaimed instrumental rock act Dirty Three and for collaborating with an incredible list of equally renowned artists including PJ Harvey, Nina Nastasia, Cat Power, Bill Callahan a.k.a. Smog and others; and beloved Crete-born vocalist and laouto player Giorgos Xylouris, best known as the frontman of Xylouris Ensemble and the son of legendary vocalist and lyra player Psarantonis Xylouris. The duo’s collaboration together can trace its origins back to the early 90s when the renowned Cretan vocalist and laouto player was touring through Australia in the early 90s. At the time, White was a member of Melbourne, Australia-based avant garde rock band Venom P. Stinger, when he met and befriended the younger Xylouris. When White along with bandmates Warren Ellis (violin and bass) and Mick Turner (guitar and bass) formed The Dirty Three, Giorgios Xylouris would collaborate with the band whenever he and his Ensemble were in town. Interestingly enough, the members of The Dirty Three have publicly cited Psarantonis and Giorgios Xylouris as being major influences on their sound and approach.

Although White and Xylouris have known each other for more than 20 years, it wasn’t until 2013 when they decided that should collaborate together, and it was accelerated when White played with both Psarandonis and Giorgios Xylouris at an All Tomrorow’s Parties Festival, curated by Nick Cave. Unsurprisingly, the duo’s long-held mutual admiration has deeply influenced how they write and perform music – and in some way, it sounds as though the duo is dancing, as at any given point they could be accompanying or leading each other and at any given moment and their live sound reflects that same mischievous fluidity while drawing simultaneously from both contemporary and ancient folk; in fact, during their National Sawdust, Giorgios Xylouris sang the lyrics of a song based around a 14th century love poem in his native Greek and the although the majority of the audience didn’t understand the words, we could understand the ache and longing within the song, punctuated by White’s jazz-like drumming. Several other ballads throughout their set evoked the imagery of herders and farmers singing around campfires with friends and family, before passing on the instrument to the next person.

While watching the duo playing “Black Peak” off their recently released Black Peak album, the stomping and rollicking song took on an improvisational and jazz-like feel as you can see both musicians practically having a non-verbal conversation with each other – in which at any given point White or Xylouris will say to the other “now, it’s your turn.” “Hey Musicians,” took on a wildly, mischievous, almost danceable feel; in fact, off to the corner of the room, I saw a few people dancing and stomping about with a joyous ecstasy while the rest of the crowd was enraptured by the old pros, doing their thing with an effortlessly cool, self-assuredness while walking a tightrope between an elegantly simple beauty and a muscular forcefulness.

Northern California-born, songwriter and composer Marissa Anderson is a classically trained guitarist, who dropped out of college at 19 to walk across the country and eventually settle in Portland, OR, where she’s currently based. Interestingly, Anderson is a classically trained guitarist, who has honed her skills playing in country, jazz and circus bands, collaborating with Beth Ditto, Sharon Van Etten, Circus Des Yeux and others, and has written the scores to a number of short films.  With the release of her first solo efforts – namely, her 2009 debut The Golden Hour, 2011’s Mercury and 2013’s Traditional and Public Domain Songs Anderson has developed a reputation for a sound that channels the entire history of guitar-based music and stretches the boundaries of tradition, as many of her compositions are not only based upon the landscape of American music but attempt to re-imagine them as her work possesses elements of minimalism, electronic music, drone, 20th Century Classical Music, blues, jazz, gospel, country, folk and Americana – often simultaneously.

Anderson’s latest effort Into the Light has Anderson leaving the Appalachian folk and Delta blues that first won her attention from the likes of Billboard, Rolling Stone, NPR, Spin Magazine, Pitchfork and Wire among others – with Into The Light landing on Spin Magazine’s best of 2016 and her split LP with Tashi Dorji being named one of the best experimental records of 2015 by Pitchfork and The Out Door. Anderson’s latest effort Into the Light, has the composer and songwriting leaving Appalachia and the Delta Blues – with the album’s ten compositions written as though they were the soundtrack of an imaginary sci-fi/western in which she tells the story of a lost visitor wandering the Sonoran Desert. And as a result, the material on the album is naturally cinematic and anachronistic in a similar fashion to the night’s headliner – in the sense that the material manages to feel both contemporary and yet timeless.

Adding to a growing national and international profile, Anderson has made appearances at the Copenhagen Jazz Festival, Sweden’s Gagnef Festival, Fano Free Folk Festival, Le Guess Who and the Festival of Endless Gratitude, as well as opening for the renowned duo Xylouris White during their brief East Coast tour, a tour which also included a stop at National Sawdust last month.  Accompanying herself with only her guitar, Anderson’s set further cemented her reputation for material that went across both the breadth and length of American music – briefly touching upon early Delta blues, folk, murder ballads and country but a with a uniquely earthy and post-modernist take, while being deeply contemplative. She’s been known to perform a version of “House Carpenter,” a title given to most American derivatives of the British folk song “Demon Lover,” a song roughly about a woman, who takes up a lover, has an affair and leaves her husband and kid – only to discover that she’s fallen in love with a demon/Satan; however, Anderson’s rendition, as she explained before she played it was meant to consider the woman’s perspective, which not only humanizes the song’s main character, but manages to be pensive and lonely in a similar fashion to “Make Sure My Grave Is Kept Clean.” Interestingly, Anderson has frequently played a medley of both songs – and it shouldn’t be surprising as the narrators of both songs wind up dead and in some way plead for forgiveness, understanding, empathy through the years.

The material off Into the Light manages to evoke natural phenomenon – a song inspired by Anderson’s time in the desert, observing harshly swirling and howling winds can make you picture people huddling in from dust storms or sitting around a fire, just listening and thinking. It was a song that possessed an elegant and deceptive simplicity. And the entire time the crowd was enraptured by this woman playing instrumental compositions that could burrow deep into the earth, yearn and arch themselves heavenward or just focus on the simple joys of being happy and existing in a particular place in time. Simply put it was a fascinating night of old pros capturing a crowd and taking them in challenging, new sonic and thematic directions.

Initially started as a one-off vehicle to release a record for a friend, Portland, OR-based indie label Fluff and Gravy Records has established themselves as arguably one of the most unique and difficult to pigeonhole labels in the country as they’ve released  albums that have run the gamut from Americana, indie folk, punk rock, indie rock, garage punk, alt country and even British folk from a diverse and eclectic set of artists including JOVM mainstay Drunken Prayer, Hillstomp, Jeffrey Martin, Fernando Viciconte, The Evangenitals, Anna Tivel and several others. To celebrate their fifth anniversary, the Portland-based label is releasing the Five Years of Gravy compilation — and according to the folks at the label, the compilation isn’t a mere retrospective; in fact, it’s a compilation of new and unreleased tracks from 17 of the label’s artists that they feel offers a glimpse of where the label and its artists have been and where they all are going. But the label and its artists also see the compilation as a way of giving back as the proceeds from sales of the album will benefit The Jeremy Wilson Foundation, a musicians’ nonprofit health and services organization that assists individual musicians and their families throughout the Pacific Northwest during medical emergencies — and is supported by fans, musicians and friends. Certainly, the work of charitable organizations such as The Jeremy Wilson Foundation will see even greater importance in light of President-elect Donald Trump’s threatened plans to cut Obamacare and with most musicians being independent contractors, access to affordable healthcare for musicians and their families will be critical.

Now, earlier this year you may recall that I had written about the Argentina-born, Portland, OR-based singer/songwriter Fernando Viciconte, who performs under the mononym Fernando. Viciconte first came to attention as the frontman oft he Los Angeles-based rock band Monkey Paw, and when the band broke up, Viciconte relocated to Portland where he began to focus on a solo career that began in earnest with the 2006 release full-length debut Enter to Exit, an effort which was critically praised by a number of major media outlets including BillboardMagnet (which named Fernando, one of the best, new artists of 2006), PasteThe OregonianNo Depression and MSNBC.com, among a lengthy list of others. Just as Viciconte’s profile and career were  set to explode into the national scene, the Argentina-born, Portland-based singer/songwriter suffered through several major health issues, which nearly resulted in the permanent loss of his voce — and as you can imagine, his health issues prevented him from touring. Fortunately for Viciconte and for us, after going through a number of doctors, it was revealed that his illness was misdiagnosed and the root cause of his issues, a hiatal hernia that caused heartburn and acid reflux, which bathed his vocal vocal chords in his stomach acid, was fixed surgically.

Viciconte’s eighth full-length effort Leave the Radio On was released last year through Fluff and Gravy Records and although the album took three years to complete, the album has the Portland-based singer/songwriter backed by an all-star cast featuring R.E.M.’s Peter Buck, who has been an early champion of Viciconte’s work; Scott McCaughey as well as members of M.Ward and Elliott Smith‘s backing bands, Richmond Fontaine and The Delines. Of course, if you had been frequenting this site, you may recall act I wrote about Leave the Radio On‘s first single “Save Me,” a bitter and aching lament of a song that evoked the lingering ghosts of one’s life — the failed relationships, the misguided decisions and poor judgements and the crushing doubts that seem inescapable and yet, finding a way to move forward with your dignity, sanity and sense of self intact. His contribution to the compilation “No Regrets” continues in a similar vein to “Save Me” as it’s a mournful lament from a narrator, who looks back on his life with an uncommon clarity and honesty, with the song’s narrator sadly admitting that he may be at fault for the mistakes and poor decisions of his life. Sonically, Viciconte’s aching vocals are accompanied with a country-leaning arrangement of steel pedal guitar, acoustic guitar, gently padded drums and twinkling keyboards — and in some way pairing the song’s sentiment with its arrangement makes the song sound as though it could be the soundtrack of lonely men lost in thought and drinking their sorrows away. And much like “Save Me,” “No Regrets” evokes life’s lingering ghosts — but in this case with a weary sense of acceptance.

 

Of course, if you’ve been frequenting this site, you’re probably well acquainted with Drunken Prayer, the recording project of Morgan Christopher Geer, who currently splits time between Portland, ORAsheville, NC and Louisville, KY — and is a touring member of renowned act Freakwater.  Into the Missionfield, Geer’s Drunken Prayer debut was released in 2012 to critical praise both locally and nationally — Portland’s Willamette Week describing Geer as a “barking ringleader with chops between Tom Waits and The Butthole Surfers‘ Gibby Haynes” and the Portland Mercury describing Geer as Warren Zevon’s medium, showing him the world from the great beyond.” Since then Geer has been rather prolific realizing several lyrically and sonically ambitious albums that have been praised for his signature sound — a sound that meshes elements of the blues, country, folk music, 60s psych and soul music and New Orleans-styled funeral dirges paired with lyrics that explore our existence through the prism of the tragicomic. In fact, Geer’s material suggests something that most of us loathe to admit — that life is often bitterly cruel and ironic. And in those moments, the only option you have is to do as the old song says “Laugh and never let the world know that deep down, you’re crying.”

 

2016 has been a very busy year as Geer released The Devil and the Blues. Featuring Lance Willie (drums) and David Wayne Gay (bass), his former bandmates in The Unholy Trio and former members of The Reigning Sound, as well as guest spots from The Sadies‘ Dallas Good (guitar), Aaron Price (organ, piano and engineering), Anna Trivel (fiddle) and a small horn and section, Geer’s latest effort was Geer’s “party album” — and by party, the material thematically covers and explores sadness, rebellion and redemption in Geer’s signature rowdy, riotous, loutish, proud and somewhat ridiculous fashion. His contribution to the compilation “I Feel Into The Sun,” is an atypical Geer song, as it’s a swooning and infectiously sweet love song with a wicked sense of humor. Yes, underneath all that loutishness and joke cracking is a sweet, aching heart desiring love and its redemption.

 

 

 

Led by frontwoman and primary songwriter Sarah Lane, along with Blake Hickey, Josh Tart, Nic Moen and Tim Karplus, the Portland, OR-based indie pop/indie rock quintet The Late Great‘s debut effort Easy was produced by John Morgan Askew, who has worked with Laura Gibson and Richmond Fontaine, and as you’ll hear on the album’s first single, album title track “Easy,” the band pairs Lane’s deeply ironic and emotionally ambivalent lyrics with a stomping and anthemic hook. Sonically speaking, the song manages to sound as though it were indebted to 90s alt rock.

New Video: The Lush and Boldly Colored, Primal Visuals for Y La Bamba’s “Libre”

Over the course of the band’s three albums and several lineup changes of collaborators, friends and musicians, the band’s material has gone through a variety of changes — but it’s the the band’s forth full-length effort Ojos Del Sol that may be arguably be the most radical turn in sonic direction, while returning to familiar themes of searching and personal discovery — themes that have come up a number of times in Mendoza’s own life, whether as the daughter of Mexican immigrants connecting with her ancestry and searching for spiritual meaning that goes much further than organized religion. In fact, as Mendoza explains in press notes, the material on the album thematically is a “cerebration of family and community” — but a community of shared humanity.

Interestingly, the album’s first single “Libre” finds Mendoza and company at their most self-assured but in one of the breeziest and pop-leaning songs as they pair an infectious and anthemic hook with an arrangement that includes what sounds like xylophone, a mischievous and sinuous bass line, a steady backbeat, Mendoza’s gorgeous vocals along three part harmonies in English and Spanish, a rolling, African folk music-like guitar line in a song that evokes a sense of almost childlike wonder and joy, while making a connection both to Mendoza’s ancestral homeland and Africa in a way that subtly channels Paul Simon’s Graceland.

The recently released video accompanying the song is a lush, cinematically shot video using impossibly verdant greens, bright reds, and a seemingly primal and ecstatic dance routine in the fields just featuring women wearing ancient-inspired costumes, masks and the like. And while being swoon worthy, the video manages to make a vital connection between the primal and ancient and the modern, between celebrating spring and summer and fertility, and a celebrating a community of strong like-minded women simultaneously.

R.I.P. is a Portland, OR-based doom metal quartet that operates off the belief that heavy metal didn’t come from the forest or beam down from outer space; but rather, that it crawled up out of the sewer and writhed to life in in the grit and grime of the streets and their unique take on heavy metal and doom metal “street doom” is indebted to that approach. The Portland, OR-based quartet have developed a reputation for relentless touring when they signed to renowned Los Angeles-based label RidingEasy Records, who will be releasing the band’s highly-anticipated full-length debut In The Wind later this year.

In The Wind‘s latest single “Black Leather” pairs scuzzy power chord heavy guitars, thunderous drumming, a driving motorik-like groove in an expansive and spacious dirge that allows room for some blistering guitar pyrotechnics while drawing equally from Black Sabbath, Led Zeppelin and Hawkwind. Structurally the song in its first half or so is power chord heavy dirge and in its last half turns into a psych rock-leaning stoner rock with a swaggering self-assuredness while evoking sulfurous smoke billowing from the depths of hell.

 

 

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